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Theatre Practitioners (Antonin Artaud (Practice (ritual theatre…

- - - - Balinese dancers
        
        gesture and facial expression
        
        non-verbal communication
        
        attaching deeper meanings to gesture
        
        attitude
        
        ideas
        
        'mental poetry'
        
        gesture creates mystical meaning
      - "Lot and His Daughters"
        
        dramatic meaning
        
        simultaneous action
        
        catastrophe
        
        day-to-day existence
      - The Marx Brothers
        
        American family comedy act
        
        juxtaposition of imagery
        
        laughter as a liberator
        
        the invasion of the rational by the irrational
    - - The director, actor and
        spectator make theatre
      - awaken, organise and
        present the dream images of our mind
    - - An allegory for theatre
      - theatre should have no constraints
      - there are no real limits to which theatre cannot aspire
      - theatre is intended to challenge and disturb
      - extreme emotions and actions arise out of a lack of controls
    - - theatre as an enhanced mirror image of life
      - surreality
        
        absolute reality
      - the real world and the dream world
      - inseparability of life
        and the theatre
  - - - irrational, sensory
- - - - emotional and sensory memory
      - overcoming tension
      - relaxation, exercise and movement training
  - - - action
      - emotion
      - subconscious
    - - borrowing feelings from real-life experience
    - - motivation/reason for actions
    - - what would I do if I was in this situation?
    - - how does emotion and context affect action?
    - - motivation, meaning, intention behind lines
    - - context and information about the role
      - building a character
    - - links the objectives together
      - pushes character through to super-objective
    - - over-reaching objective
  - - - Solitude in Public
        
        actors concentrate on themselves
      - Objects and Characters
      - The rest of the production
    - - absence of muscular tension
      - vocal intensity/emotion
- - - - Prompted to think rather than feel
      - Making judgements
      - Careful observation
    - - Lehrstücke
        
        didactic
        
        "learning plays"
      - Alienation (V-effekt)
        
        seeing things afresh
        
        Placards, singing, third person narration, etc..
        
        verfremdungseffekt
      - historification
        
        drawing parallels between historical and contemporary events
        
        “Historicising involves judging a particular social system from
        another social system’s point of view”
      - non-linear, fractured plots
      - political, historical, social
      - parables
      - large narrative
        
        montage effect
        
        multiple locations and time frames
    - - Gestus
        
        social attitudes and relationships
        
        signifying gesture or posture
      - mix of realistic and non-realistic
      - mix of forceful and graceful
      - blocking was more functional than aesthetic
    - - costume
        
        reflective of societal role
        
        fragmentary
      - sets
        
        fragmentary
        
        industrial
        
        screen projection
        
        placards
        
        open white light only
    - - direct audience address
      - breaking the fourth wall
      - usage of narration
      - characters were played with a sense of detachment
      - actors objectify the character
      - Presenting/reporting events
- - - - Symbolism
      - Movement
      - Biomechanics
  - - - Experimenting with the concept of human existence
      - Accessible, collaborative theatre
      - Bridging the gap between performer and spectator
      - Workshops/non-performed works
      - Historical and cultural context
      - Next to/alongside theatre; new concepts
    - - Transformation of objects
      - Non-traditional performance spaces
      - Audience was placed on the side of/amongst the action
      - Minimal props, costume, and set
      - Stripped-down aesthetic
      - Spiritual poverty
      - The space was shared among the audience and actors
      - Audience interaction and involvement
      - Facing the audience with terrible questions
    - - A human being in total dynamic action
      - In a trance, but with full consciousness
    - - Acting as a way of life
      - Actors must eliminate selfishness, egotism, nervousness, vanity, and anything else that might prevent the training from working
      - Acting is about fulfilling one's true potential as a human being
      - Evoking SIlence
        
        'An actor must begin by doing nothing'
        
        creative passivity
        
        intense concentration
      - Physical Training
        
        Importance of body language
        
        Unlocking full creative and physical potential for expression
        
        Responding physically to the world
      - Voice
        
        Breathing technique
        
        Vocal projection
        
        Focusing the voice in different parts of the body
        
        Imitating sounds of the world
        
        Vocal flexiibility
        
        Diction and clarity
      - Contact
        
        Awareness and sensitivity of everyday contact
        
        Our impact on other people
      - Transformation
        
        Using your imagination
        
        Transforming minimal sets/props into something else
        
        Concentration and commitment
      - Memory
        
        Emotional memory
        
        Leads to greater self-knowledge
      - Truth
        
        Behave truthfully
        
        Total commitment and belief